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Let the Williams well run dry for a few more years and everything except Joey starts agreeing with you. When i recently got THE EDGE by Goldsmith, i listened to it again since a long time and was shocked of how great, even sublime a lot of it seemed. When the score came out, i liked the theme and found the interior music serviceable but not much more. With filmmusic today what it is, even a workmanlike Goldsmith adventure score seems like a thundering musical achievement.

I've had a similar experience with The Edge, though I attribute much of it to the fact that there IS a lot of excellent material in the underscore. Your point may be the reason for my growing enjoyment of Timeline, though.

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Perhaps they have but I'd be surprised if they had saw the original sketches, simply because I'm sure they'd be able to shed more light on the missing slate numbers and cue titles in the prequel resource thread for example.

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The track that I immediately played was the "Confrontation With Count Dooku and Finale". I can tell you now that this cue has been revised from what I heard at the recording session. I was waiting for the massive orchestral blowout before the finale statement of the Love Theme. I have been raving about this material since the day I heard it in January. Imagine my disappointment when I heard that the entire sequence had been replaced with a grandiloquent statement of the Imperial March. I considered this to be the high point of the music that I heard that day.

Remember that I spoke to you months ago about this section of the music- It underscores the scenes where thousands of Clone Troopers are standing in attention in front of three hooded figures who are surveying this military parade. Huge spaceships are flying overhead. This scene is obviously meant to depict the birth of the Empire. These massive statements from the orchestra are then immediately followed by the final statement of the love theme, then the end titles.

I kind of wish that Williams had not bowed to pressure and left any statements of the Imperial March until Episode Three- can you imagine the dramatic effect of not hearing the theme until we see the first glimpse of Anakin in his new incarnation as Vader? I can just imagine it. The original music was more effective I think- but Lucas must have had different ideas. I wonder if this original version will ever see the light of day... too bad.

I really really want to hear this!

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It's theorized you can hear parts of it in the Across the Stars music video edit. There's a bit of music in there with no identifiable source, but it could be part of the big orchestral finale. I really want to hear it.

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I paid close attention to the scores in How to train your dragon, which I deemed wretched, and IJKCS which I enjoyed more in the film than I previously remembered. I think it's time to end my sabatical from Indiana Jones music and I'll download the 4 scores to my mp3 player.

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There were some rumors at FSM by someone who has worked within the industry. Although this same person was making other unfounded claims that Robert Townson wasn't diligent enough when it came to assembling Spartacus so go figure.

But material recorded overseas always worries me when it comes to storage.

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That King Kong fire in Hollywood destroyed a ton of tapes and archival things. Universal claimed what was lost is basically backups, but I've heard rumor indicating otherwise. Family Plot and Dracula were probably in there.

Busy day:

Angela's Ashes, War of the Worlds, E.T., Harry Potter 1 album (a parting thing), Prague Close Encounters set, Cinderella Liberty and Lost in Space: The Reluctant Stowaway.

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I think it's generally considered by most that it is part of the unused finale.

Yeah, it's the only likely explanation. It's just a short snippet, but it leads right into the statement of the love theme in a perfectly natural way. It doesn't sound edited at all. And it seems like it'd be silly to take just that second or two from some OTHER unused, unreleased passage and edit it into the gap before the love theme.

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This is the only John Williams score I absolutely do not like. I can't get into a single track, not even a single moment. It goes in one ear and out the other. I would probably rank most Johnny Williams scores I've heard ahead of it. I've tried with this one. I really have. I can't find anything to appreciate in it. Not one damn thing. It's nothing that I would ever want to listen to. And I think this shall be the final play.

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They're completely different. And for the record, the Munich theme is a ripoff of JW's Jane Eyre theme, with all the soul sucked out of it like the rest of the score. Now I feel like listening to Jane Eyre. Good choice.

There is absolutely nothing in Munich to compare with the SL theme, Remembrances, Schindler's Workforce, Making the List, Immolation, Stolen Memories or any of that stuff. Where is this music you speak of?

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Alien Ressurection, the La La Land version of course. Seems like a terrific piece of work. Though I've owned the regular edition for years I've never paid this score much attention so it's only now that I've really started discovering and digging into it. I need to give it many spins but first impression is very positive.

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3,500 copies is quite a lot. I like how La-La continuously puts out 500 more or less copies than other labels. Those extras really do make a difference, I think. Either way, if The Edge isn't even close to selling out, I think Alien Resurrection has some time.

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Jurassic Park. First listen in probably a year and an all-time personal favorite. I was thirteen when the film came out and the music jumped out at me and immediately rekindled a passion for film music that hard literally started when I was 5 years old (Superman). I walked out of the theater with my friend and BEGGED my mom to buy me the soundtrack. She did! I still have that disc.

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I must say, my initial listen to the Alien 3 soundtrack was an epiphany and one of the best experiences I have had listening through an album ever. God, now listening to it completely, that all comes rushing back. It's so awesome! I had always considered the argument that this was Goldenthal's best work a bit of an over exaggeration of its quality, but I get it now.